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Open Document One exhibition Four venues Wearable Art Mandurah Exhibition presented by Act-Belong-Commit FULL ARTIST STATEMENTS Contemporary Art Spaces Mandurah 63 Ormsby Terrace, Mandurah Lakelands Library and Community Centre 49 Banksiadale Gate, Lakelands Mandurah Visitor Centre 75 Mandurah Terrace, Mandurah Mandurah Performing Arts Centre Ormsby Terrace, Mandurah CONTEMPORARY ART SPACES MANDURAH (CASM) 63 Ormsby Terrace, Mandurah g Jacq Chorlton Sky and Water III Winner – Wearable Art Mandurah Artist of the Year Artist Statement Black corflute birds, inner tube feathers and handmade embossed aluminium fish make up this wearable art piece created as a homage to ‘Sky and Water I’, a woodcut print by Dutch painter M.C Escher from his ‘transformation’ print series. It reflects the metamorphosis of fish into birds who are then free to fly away and beneath the horizon the birds transform into fish swimming down into the dark depths. Created in 1938 as a powerful metaphor, it reflects the inseparability of life from the elements that it needs to survive and the symbiotic nature of Earth’s ecosystems. Materials and Method of Assembly Black Corflute, printers’ plate, inner tubes and black paper create birds and fish. The aluminium is cut and embossed by hand. The birds on the hat are created from papier-mâché. The feathers have been cut from inner tubes. Fish eyes are cut from DVD’s. All wired together onto a pipe cage. Jude Tupman & Marie Gallin Patches Off Winner – TAFTA Inc. Award Artist Statement Imagine how many lives have been transformed by the work of Fred Hollows Foundation, not only restoring vision, but also life’s opportunities. ‘Patches Off’ is a celebration of that moment when the patches come off after eye surgery. Personal cataract experience, followed by the patch off moment informed our design. The headpiece depicts eye surgical instruments. The dark indistinct back view represents poor vision and loss of detail from afar, whilst the contrasting colour, shape and clarity in the front symbolises the ‘wow’ of renewed sight. Benoit Mandelbrot’s expression of mathematical transformations occurring in nature provided a recurring design throughout. Materials and Method of Assembly Homemade grass tree resin darkened recycled fabric, out of date bandages, teabags, and woodwork on the back. Copper wirework (12km) and recycled aluminium wire inlay added detail. Hand, cutback and freehand machine embroidery (12km thread in wings). Discarded surgical instruments, moulded foam, macramé and Tunisian crochet. Elizabeth Morley Takes Grit Winner – Transformation Category Artist Statement The magical transformation from rock to pearl begins when rocks break down to grit and sand by the constant motion of waves, a grain of which can lodge in an oyster causing great discomfort. As its defence, layer upon layer of nacre, or mother of pearl, is secreted to encase the irritant. In time a pearl is formed and the suffering is transformed into a lustrous gem. In life, we choose our particular nacre to protect us from pain and distress. Determination is needed to add those layers - it “takes grit” to keep on trying. Materials and Method of Assembly Coral gardens from peach stones, dehydrated corncobs, watermelon peel, vege table slices and stalks (capsicum, zucchini, aubergine, garlic) sealed with Powertex turn potential landfill into art. Painted, dyed and manipulated embroideries upcycled from previous artworks provide all the fibre textures, skirt and bra. Expanding foam, cane, wire and plastic create form. Boroka Kis The Sorceress Artist Statement The Magical Stag - its antler is the Tree of Life, where Eagles are nesting to bring the reborn souls back to Earth. The Deer has the beak of an Eagle: a symbol of the scathing nuptial of predator and prey. Their fusion gives it a super-natural power, like to the wise and protective griffin. Humans are often depicted with animal heads as Sorcerers or Gods throughout history, incorporating the strength of the sacrifice as it multiplies their power into a higher dimension that otherwise they could not perceive. Materials and Method of Assembly The people whom inspired this tribute were the first known and excellent felt- makers. Pure wool-felt was used to make this mask to see how far the possibilities could be stretched. Leather was used to represent human spiritual beliefs since the stone-age. Jo Court & Sarah Walker Deception: A Love Story Artist Statement This garment was inspired by the detailed, complex world of the forest floor of the Walpole area. This is a tale of a conspiring orchid and a hood-winked wasp - the hammer orchid and its unique pollination by the Thynnid wasp is told in Deception: A Love Story. The artists have created an interpretation of the hammer pollinating the wasp through the use of cane, wire, knitting and other fabric techniques. Materials and Method of Assembly Orchid: (Labellum - body) cane frame, five layers of knitted wool fabric using super-sized knitting needles designed especially; (Glands - headwear) soldered wire frame, Powertex fabric cuplets; (Stigma - over arms) stocking; (Leaves) handstitching on sheer fabric. Wasp: (Body) wool, Powertex; (Wings) Perspex coated in pattern paper, Powertex strengthened, wool blanket stitching. Deb Hiller Metal Maiden Winner – Metallic Category Artist Statement Soft pliable material was used to make the viewer believe it is metal and light and comfortable to wear. Repurposed materials were used where possible. This artwork represents the strength, courage and compassion of women throughout history by using armour to convey strength and the use of an ornate design to show the femininity and fragility that is hidden behind the armour. The umbrella represents the protection and shelter that women provide to their loved ones. The mirrored sphere reflects the inner self, hidden away from view. Materials and Method of Assembly Foam matting was cut by hand into intricate panels, and pieced together with contact cement and split pins to form the armoured bodice and headpiece. A variety of paints and a soldering iron add texture. The skirt is two old umbrellas. Jennie Abbott & Lyn Nixon The Bird Cage Artist Statement Throughout history metal has been used to construct garments that restrain and control women. ‘The Bird Cage’ garment explores the beauty of the feminine juxtaposed with elements of entrapment. Since the 1400’s metal devices such as chastity belts, corsets, chains and hand cuffs have been used to dominate women and influence how they look. The undergarment straight jacket binds the model with fabric, buckles and clasps and speaks of the attempts to restrain women. Whilst the shiny, steel like organza ‘cage’ is designed to be beautiful, it is also representative of the enslavement of women over the ages. Materials and Method of Assembly Materials: Crushed organza, Calico, wire, fishing line, reticulation pipe, buckles, chain and plastic. Machine and hand stitching, threading Eugene Smalberger Gallactic Artist Statement Inexplicable forces work to guide and inspire dependable hands, showing exactly how to render the creation. Trusting the inner self, the dress evolved seemingly effortlessly as the artist wallowed in the process with great joy. The spiralling Aluminium against the rough metal bra is both incongruous and harmonious bringing forward the beauty of the female body, with gallactic metal heat shields guarding it from the unknown universe forces. Materials and Method of Assembly Fence wire welded together created a frame. Covered with shields, hand cut from roofing aluminium and riveted to sections of bathchain to allow movement, spaced out with fridge cooling tubes. The bra shaped from coarse alumimiun plate designed to protect caravans decorated with swirls of light roof alumimium. Suzette Darcey LacusCurtivs Winner – Creative Reuse Award Artist Statement The garment draws inspiration from the colours of earth’s soils, which are mined and transformed into the objects of everyday living and life - but what a waste. The brilliance and glitter is so magical. The colours silver, gold, copper and purple informed the vision that eventuated in the creation of a garment that exists outside of realm of norms. New skills were developed to allow the artist to strip electric wire and manipulate the copper within to adorn the garment with jewellery, hooks and eyelets. Materials and Method of Assembly The cape was made from 1,000 sequins hand-sewn into laminated viol and foam together, machined silver insulation with copper foil and plastic bags. Powertex/ Colourtrix molded cane, aluminum, tape, buttons, copper wire, materials, cardboard, and 400 silver stubby tops formed the garment. Aluminum ducting, bike helmet completed the headdress. Lynn Kennedy Ironland Winner – Powertex Award Artist Statement Dominant Pindan tones of the ancient landscape with its vast mineral deposits and the immense beauty of the Pilbara is the inspiration behind Ironland. Representing the dramatic Iron rich Gorges of Karajini national park it’s highly polished rock formations and the unique Flora and Fauna that are found there, Copper transformer wire was sculptured into metallic forms to represent the deep gorges and the life that they hold within. Tranquil rock pools were created with coloured metallic resin while photographic images on layered Calico symbolise the ancient banded iron formations. Materials and Method of Assembly Several hundred metres of Copper transformer wire was hand woven to form the cape, skirt and headpiece. Coloured metallic resin poured onto canvas created the glass like rock pools and Powertex transfer medium was used to transfer 25 photographic images of Karajini onto Calico to form the skirt. Whispers Progressive Garment Skrydstrup Woman Artist Statement An artefact of history and a mystery to inspire the creative imagination. In the preserved body of Skrydstrup Woman, a young Bronze Age woman, buried with markers of status and privilege, there is a wealth of knowledge. Textile treasures found with her link the past and the present, a journey back to the origins of our textile history.
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